bioshockfandomcom-20200223-history
BioShock Infinite Removed Content
BioShock Infinite went through many revisions over the course of its development by 2K Games and Irrational Games. The purpose of this article is to record all content which appears in game files, development trailers or simply concept arts, but did not make it to the final version of the game. As the following elements were removed or left unused in the final version of the game, they should not be considered canon to the game's history nor actual parts of its universe. "City in the Sky" In the early "City in the Sky" or "Rapture in the Sky" prototype for Columbia, featured in both screenshots in The Art of BioShock Infinite and IGN's Early Elizabeth video, it was considered to have an Art Nouveau inspiration to its architecture, along with a more weathery and stormy atmosphere to create cloud cover. One of the current game's areas that appeared predominant throughout development was Emporia, only with automata-based statues, and buildings inside Rapture-like corridors with glass ceilings. It was mentioned in the BioShock Comparison interview that this was meant as an art contrast from BioShock's Rapture, since Rapture was focused with Art DecoBioShock Comparison interview on IGN. However, they found that while Art Deco architecture had simple shapes for low enough polygons to generate in the game's engine, the Art Nouveau style was too difficult with very fine tuned round designs that used more polygons to afford in their budget, and caused them to revise it for the current Beaux-like appearance. Still, some Art Nouveau assets do appear in the game, such as furniture, and decorative frames and signs in Emporia, Comstock House and the Church of Comstock. As for the stormy weather atmosphere, they found it was too dark and the lighting was too much of a Rapture resemblance, with no emphasis on the environments as a open sky, revising it as a more bright environment instead. Level Emporia Emporia in the E3 2011 demo was vastly different from the final version. Originally mentioned in IGN, this location would have been the third level of the game, and featured the Columbia Mail, Major's Notions, Sundries and Novelties, and a Dental office. As with the final version, the Emporia district was vandalized by the Vox Populi, as well as seeing Citizens being tortured and executed, along the way toward Comstock House. Aside from removed content, some scripted scenes and areas were altered and moved into other parts of the game: a store resembling Major's Notions, Sundries and Novelties was moved into Battleship Bay and Soldier's Field, as with its scripted Songbird scene moved to the final part of the Grand Central Depot. The scene with Elizabeth resurrecting a dying horse was removed, but the Tear that lead to an alternate 1983 was moved to Monument Tower. A similar scene featuring Daisy Fitzroy projecting herself in the demo was altered for Shantytown, only shown on the side of the First Lady instead of a red curtain on a building. Although the saved dentist that pulled a Vox's teeth was removed, a similar scene is featured when arriving in Memorial Gardens before passing by the gate of Comstock House, where two Vox members are grave-robbing a corpse for gold teeth fillings. The battle with a Vox Security Zeppelin (and its alarm) was altered, only replaced with a similar version moved toward the Factory in Finkton. Finkton Good Time Club Before the Good Time Club got it's name, it was labeled the "Fink Theater" in concept art in The Art of BioShock Infinite. Shantytown Interestingly enough, Shantytown was cut not long after a VGA trailer of BioShock Infinite, showing that level off. The reason this level was cut is unknown. Even more mysterious, after one particular developer left due to Shantytown not being included, it was finally included in the finalized game. Originally, there were more beggars and dying people lying on the streets. Some of these people would actually grab Elizabeth and plead for money. Dead people could be found where Elizabeth would give them flowers, putting them in a peaceful position. This is still seen in the main game, but not just in Shantytown. Sea of Doors The endgame which takes place in Sea of Doors, a place connecting all realities, was to feature more "lighthouses" (a representation of the doors to other realities) other than Rapture's and Columbia's. Those places, respectively named by files Arctic Lighthouse, Desert Lighthouse and Space Lighthouse, were an observatory, an Arabic-looking tower, and a space station looking exactly similar to the Citadel Station from System Shock, a game whose sequel was also developed by Irrational Games. Only untextured models can be found within the game's files, though the observatory can be still found outside the playable area of the Sea of Doors, on some snowy mountains, with a stone staircase and a wooden bridge between the peaks. The building's door can be opened as a scripted event, and doing so will start playing snow storm effects, and falling down through the map. Artic lighthouse.jpg|''The observatory model.'' Desert lighthouse.jpg|''The tower model.'' Space lighthouse.jpg|''The space station.'' Space lighthouse 2.jpg|''A comparison in size of the space station model.'' 500px-Bioshockspace3.jpg|''The mountains with the wooden bridge and observatory.'' Bioshock Infinite Cut Area|''A video of the cut area inside the map of the Sea of Doors.'' Mechanics and Gameplay Elements Gear Store or Tailor Machines The Gear Store or Tailor Machine were supposedly meant to be used in the same way as Rapture's Gene Bank, but the idea got scrapped later in development for unknown reasons. However, the store itself is still seen in-game, often in shambles with a single piece of Gear by its side. Files in the game reveal voice clips meant for the store usage, as well as menus allowing Gear options for switching. This implies that you could buy Gear rather than finding it scattered around Columbia. Old GUI Designs This blog post shows some early designs for the GUI (graphical user interface) for various features. One is for an early HUD design, another is for a GUI for a Gear store that was removed from the final game, while the last one is a rough draft for a loadout screen. File:Oldhud bsi.jpg|''Old design for the HUD.'' File:Loadoutscreencut bsi.jpg|''Design for a loadout screen.'' File:Gearshopcut bsi.jpg|''Cut Gear store interface.'' Sky-Lines In the 2010 gameplay demo, the Sky-Line's appeared more mechanical, with moving chains which pulled Sky-Hook's and the trains around. In the final game, the hook seems to propel itself along the rail. Also in the 2010 and 2011 demos, Sky-Lines allowed combat over much greater distances. The moving cars also originally moved towards the player while on the Sky-Line. This forced the player to either get off or change course, making gameplay more interesting. Sky-Hook Originally, the Sky-Hook appeared smaller, and retractable from the sleeve, as seen in the 2010 demo and in The Art of BioShock Infinite. Concepts of the current Sky-Hook was, at one point, modified with a retracting arm capable of disemboweling enemies. Function of Tears Many early trailers showed large, different Tears, and implied they would be used more often and in different ways. In the final game, many of these functions were removed and the Tears have a smaller overall role. Originally, utilizing these tears meant causing severe damage to Elizabeth, creating a nosebleed on her part, or making her so exhausted she can barely walk. This was going to affect your overall relationship with Elizabeth and change the ending. This was scrapped in the end. Tear Gameplay Mechanics As Ken Levine explained in several interviews, you would have a choice of three tears, and you could only choose one. You'd have to stick with this choice until Elizabeth's power refreshed. This changed the concept of hurting Elizabeth and restricted you with your choices, making gameplay much more intense. As the game developed, Elizabeth gained more power. This allowed the player to choose two tears out of five choices in one battle scenario. In the final version of Bioshock Infinite, Tears came with an unlimited usage, being able to bring in whatever you wanted at any given time. Vigors In early trailers for the game, Vigors appeared very similar to Plasmids. Vigors were also supposed to be able to work and combine with Elizabeth's powers; this functionality only appears in the 2010 debut demo. A few powers that were cut include Weapon Slave (which later became a dumbed down version of a Gear), and a Vigor similar to Telekinesis. Respawn Tomb (Resurrecto) Resurrecto is an early respawning tomb that existed in a late Beta for BioShock Infinite. Similar to the Vita-Chamber, the concept for Resurrecto would have been able to bring the player back from the dead. As with relating to the city's earlier patriotic concept, the stain glass art for the tomb features a more patriotic Columbia with the three symbols of the Sword, the Scroll, and the Key. In the final game, Booker DeWitt simply emerges from a Tear-like version of his office if he dies alone, or, if with Elizabeth, is revived by her. Although the concept was revised at a later stage of the game's story and development process, Resurrecto can still be found by extracting the model from the game's data files. Characters Booker DeWitt Originally, the early version of Booker's arms were seen covered by sleeves from a pin-striped coat. This version remained in most of the early gameplay footage, even after the artwork debut of his appearance from the EGM cover, which had him appear with rolled shirt sleeves. It wasn't until the 2012 Beast of America ''trailer that Booker was finally given rolled sleeves to match his artwork appearance, along with his hand brand. Before he was voiced by Troy Baker, he was voiced by Stephen Russel in the first trailer. Elizabeth Prototype "Gibson Girl" Elizabeth Early in the development of ''BioShock Infinite, Elizabeth went under much revision while testing for a final form. As revealed in an IGN interview, an early model for Elizabeth (which had previously been shown as concept art sketches in The Art of BioShock Infinite) had been tested within the game world. Nicknamed "Gibson Girl" and based on illustrations of women during the era, the model was cut early on. The developers did not find her favorable in this early form, as both she and the player would not speak, and her interactions were highly scripted, such as periodically taking control of the player to direct them toward objectives.IGN's Early Elizabeth Prototype interview on YouTube Alpha/Beta Elizabeth In early gameplay trailers, Elizabeth's powers revolved less around quantum physics and functioned more as general magic — she had the ability to raise storms, use telekinesis, and combine objects through fusion (which later evolved into the Return to Sender Vigor). She also seemed to have a more child-like personality in the E3 2011 trailer, which was toned down for the final release of the game. Her appearance in pre-material screenshots, Debut Teaser, and 10-minute Demo show her with darker hair in an anachronistic shingle bob style, dark blue-grayish dress and over-sized eyes. A updated version of this original model actually appears as one of the alternate Elizabeths at end of the game, and as a Statue in the DLC Clash in the Clouds at the Columbian Archeological Society, along with an unused third Handyman Model. Zachary Hale Comstock In early versions of the game, Zachary Hale Comstock was a middle-aged man with slicked back hair and a scar over his eye, or wearing glasses. Both versions were removed from the final version of the game, which could reflect a change in his role in the game's overall story. Textures of an unused version of Comstock, presumably from early stages of development; can be found on the backside of a building. Interestingly, early versions of Comstock are around the same age as Booker and look more similar. It can be presumed that early in development, Comstock travels into a different timeline; however staying parallel to Booker's timeline, instead of traveling back in time into a different timeline; hence the old age. Cornelius Slate In concept art, it's shown that Slate was originally planned to be a more human looking Jockey Junkie (seen below) with short, magenta crystals around his scalp and other crystals protruding along his uniform. The uniform itself is his original soldier uniform he used 20 years ago. However, once the Vigor Junkie concept was scrapped, Slate was changed to a normal citizen though he still has crystals growing from his forehead as course he started drinking the Jockey vigor for hours. Slate has an unused fight mechanic to fight the player. He has high movement speed, and no actual firearm besides Shock Jockey. He will run around and throw multiple traps at the ground. When he is far enough away from you, he will throw them at you. He does have more health than normal enemies, but not too much to not be killed. This could mean he was meant to be an actual Vigor Junkie boss (Which this mechanic reused for Frosty Splicer as recurring Fighting Enemy Boss in Burial at Sea) or has that amount of health so he will not die by the players actions. When killed, he will not drop any loot in final gameplay. Enemies Boys of Silence The Boys of Silence were originally meant to appear as a reoccurring enemy, but in the final version of the game, they only appear in Comstock House. They were to be an enemy feared by the player, much like Songbird, appearing in certain areas making you re-think the way to handle a situation. The Boys of Silence were also beatable but now they simply disappear if you're spotted or if you attack them. Rather than be seen by their light in the final game, they were blind and relied on their sense of hearing. Back when Bioshock Infinite was still meant to have horror elements, these enemies were showcased as the most horrifying creatures. Not knowing what was under the masks is what would make the player both scared and interested in what the story was with the Boys. The whole story was practically scrapped. Originally it was hinted that they were orphaned children. Crow/Charles A guard or servant to Saltonstall, Charles played a small part in introducing the Murder of Crows vigor in early gameplay footage. While reference to Saltonstall remains in the final game, Charles does not appear to have mention. In The Art of BioShock Infinite, Charles was meant as a Vigor Junkie, and his model was meant to wear black clothing. A Vox Populi version was meant to have him wear a red hood with tied knots as devil horns. Handyman An additional Handyman model was originally planned for inclusion in the game, wearing patriotic clothing, sporting hair and a mustache, and having the frame of his Autobody uniquely designed. This particular Handyman may have had a minor role in the story as he calls Elizabeth by her name and physically tries to stop/capture her and Booker in the 2010 demo. Unlike the final game Handymen, he seems much "healthier" and even smirks at Booker's attempt to hit him with a shell using telekinesis. This might have be the reason why he was cut as developers wanted to emphasize how sick and miserable Handymen were. Although this model was cut from the final release, the release of ''Clash of the Clouds'' DLC featured this model as a unlockable in-game statue in the Columbian Archeological Society, along with Beta Elizabeth. Merged The Merged were going to be enemies that resulted as being exposed to Tears for an extended period. As a result of encountering various incarnations of themselves across dimensions, their facial features were twisted and warped and deformed. Vigor Junkies According to The Art of BioShock Infinite, Vigor Junkies were planned to be one of the types of enemies. As Columbia's version of the Splicers from Rapture, they suffer psychological deterioration as result of excessive Vigor abuse. However, the Rapture comparison limited the use of Vigor Junkies in the game, and an in-game explanation by Citizens' dialogue in the Columbia's Fair mentions that average Citizens were not that interested in obtaining Vigor abilities, due to the formula "kinks" that Fink needed to work out. Small aspects of the Vigor Junkies are still present in two of the currently used characters, the Crow and Cornelius Slate. Both characters' madness has been exacerbated by their repeated use of a particular Vigor, Murder of Crows, and Shock Jockey, respectively, and the latter even has small Shock Jockey crystals protruding from his head. The Murder of Crows ability for its Junkie was also altered, as the 2010 demo showed Charles, a removed character that was also conceptualized as a Vigor Junkie with the Zealot, would have been able to possess the same crow-unleashing ability as the player, but like the character, also had that ability altered in the finished game to being surrounded by crows while teleporting. Although the Fireman's appearance did not make it in the Vigor Junkie concepts, a Vigor Junkie character in a top hat, glasses, and a black coat shows many of the same Devil's Kiss abilities as a Fireman. Although the concept was scrapped, the unfinished model of the Shock Jockey Vigor Junkie still remained in the game's files, which served as a basis for being repurposed as the Frosty Splicer in the ''Burial at Sea'' DLC. The Siren It was originally stated that the Siren would be a reoccurring Heavy Hitter similar to the Motorized Patriots and Handymen. In the final version of the game, she appears only in Emporia and acts in a plot-significant role. In the Clash in the Clouds DLC, the Siren can be reoccurring a Heavy Hitter now, as one appears in less than two maps and one of them is in Emporia as the Emporia Arcade. Motorized Patriot Prototype or Alpha Motorized Patriot Originally, the Motorized Patriot evolved from the concept of the Automatic Gentleman. The initial idea was inspired by 20th century fascination with exploring technology into the field of early robotics and complicated machinery, which Irrational Games felt that for Columbia, they would consider their scientific hive-mind imagination to create a servant for the society. As Nate Wells mentions, "There's this fantasy that people of the time wanted these automatons to do things for them. We don't start with a gun. We set the vibe first. Late Alpha Motorized Patriot The concepts for the Motorized Patriots as Benjamin Franklin and an unused Thomas Jefferson would have been more distinct from the George Washington version. Both had concepts for their own distinct damaged faces, such as Franklin having no glasses, and the right side of the face and eye missing. Jefferson would have had missing eyes, a broken jaw, no face, and burned hair. In addition, both would have worn their own variant colored coats (purple for Franklin and green for Jefferson), similar to those seen on the Founding Father balloons. Beta Motorized Patriot The Beta Patriots originally used normal American flags on the Beta Patriot, as older previews showed Motorized Patriots with similar, if not the same, flags in place of Columbian ones. This may have been updated in Burial at Sea, as the Patriot that can be summoned through a Tear bears Columbian flags. Songbird Before it was known as the Songbird, it was only named as "Him" by Elizabeth. In the 2010 debut demo, he sounded and looked almost identical to Big Daddies from BioShock and BioShock 2. In early footage, it appeared as though Songbird was an ever present threat that could be confronted in combat situations. In the final release, Songbird only shows up in scripted events and cutscenes and cannot be attacked. Originally, you had the choice to either attack or hide away, which would change your relationship with Elizabeth and the overall ending. However, the Songbird can be interacted when Booker tells Elizabeth to destroy the Vox zeppelin. Early and Unnamed prototype Enemy Appearing in the same video as the prototype "Gibson Girl" Elizabeth, there is an unnamed enemy shown resembling a giant mechanical doll in appearance. No information has been given on what the enemy is or does and it is likely it was scrapped early in development from the Art Nouveau version. Mad Toymaker Toys Before the game's core concepts were finalized, there was a early draft for Toy-like Automatons, created by a "Mad Toymaker", resembling animals in festive outfits. There were four designed variants of these toys: a rabbit wearing a top hat and tuxedo, an owl in a night themed suit with retractable blades attached to its arms, an elephant with a Slow Pro-like back-mounted cannon that would fire cannonballs when it pulled the rope, and a moth with painted wings like stained glass; the latter concept would evolve into the Songbird. ''Burial at Sea'' BioShock Infinite's downloadable content Burial at Sea with its two episodes, had many ideas that never made it to the final version. Most of the information is from the concept art. Air Grabber Concept art reveals that there was to be a scavenger hunt for parts to create the Air Grabber, which would have been created using makeshift items found around Rapture including the Pneumo Bots. Elizabeth Before Elizabeth's primary outfit was chosen, she had five different proposed variants. In interviews prior to her playable debut, she was to retain her tear ability that would have created a new experience for players apart from the stealth mode implemented in the final game. For unknown reasons, her tear abilities were removed from the final game and replaced with Plasmids. http://www.ign.com/articles/2013/08/07/how-playing-as-elizabeth-changes-bioshock-infinite Jockey Splicer The Jockey Splicer was a Splicer model that had consumed to much of the drinkable Plasmid: Shock Jockey. The character was suppose to be featured in Burial at Sea - Episode 2 but was cut far in the process for unknown reasons. It even had its own character model. Kashmir Restaurant Although the iconic restaurant is seen from the windows of Market Street, a piece of concept art reveals that there might have been an idea for the player to actually visit the restaurant. The concept shows the restaurant's Atlas statue with a festive party around it. It is unclear if this was actual concept for the restaurant or just to showcase Pre-fall Rapture. King Pawn Concept art shows a King Pawn store located on Market Street. Law Enforcement Allegedly, police or security forces similar in function to the Ducky model would have been patrolling the antebellum streets of Rapture. In the final game, no security forces are seen apart from Ryan Security. Scallop Spirits Concepts for Market Street shows a bar or liquor store called Scallop Spirits on its strip, which was later removed in exchange for Sinclair Spirits. Seahorse Station Renamed Pavilion Station in the final game, the Seahorse Station would have been a building all on its own with its a tram schedule board. Concept shows two designs, one pristine and one destroyed. Splicers Many unused splicer model variants and props were proposed but removed or repurposed for unknown reasons. This includes two more female Splicer designs, weapons (with the likeness of Columbian weaponry), and attire. Pneumo Advertising Concept art shows a special branch of Pneumo Lines that catered to advertisements and/ or news bulletins. Images would be projected onto the moving canvas. This special branch would have been indicated through slots lining the walls and floors, an entrance and exit, and may have zoomed past the player's view. Pneumo Bots According Alpha-footage and concept art, Pneumo Bots played a larger role and had mounted guns connected to the television sets that ran along the Pneumo Lines. Imprinting Studies Concept art shows a third imprinting study involving a mannequin with a resemblance to Elizabeth, two pigs with removable metal helmets with color signifiers similar to the Big Daddies. References Category:Pictures needed Category:Removed Content Category:Article stubs Category:BioShock Infinite Removed Content